我在思索一个现象:近几年,戏剧界为冲破剧场的萧索、戏剧的凋蔽,真诚地作过许多努力,在戏剧界自身的某些方面也确实有了前进。这首先表现在剧本创作上。一些剧作家靠观众近了,写了一些多少讲了真话的剧本,或多或少地按生活的本来面貌来反映生活,塑造人物。一批中青年剧作家在剧作观念上有所拓展,在形式上有所创新。除了表演艺术以外——我觉得从总的形势来看,表演艺术没有提高——在导演和舞台美术创作上思想开始活跃。一些中青年导演,按照自己的美学追求,吸收外来的形式,有的结合了我们民族传统戏剧的美学原则,有的并不结合,摹仿加创造,出现了一些有新意、新形式的演出。但奇怪的是,除少数的演出令人鼓舞以外,这一切努力都未能改变一个总的现实:剧场仍是凋蔽、萧索! I am thinking of a phenomenon: in recent years, the theater industry has made many efforts in good faith in order to break through the theater’s frustration and drama. It has indeed progressed in some aspects of the theater itself. This is the first performance in the script creation. Some playwrights rely on the audience near, wrote a number of telling the truth of the script, more or less according to the original appearance of life to reflect life, create characters. A group of young and middle-aged dramatists have expanded their concept of dramas and made some innovations in form. Apart from the performing arts - I think the performing arts has not improved from the general situation - the thinking has started to take an active part in the director and stage art creation. Some young and middle-aged directors, in accordance with their own aesthetic pursuit, absorb foreign forms, some combine the aesthetic principles of our national traditional drama, while others do not combine, imitate and create, and some new and new forms of performances have appeared. But it is strange that with all but a handful of performances encouraging, all these efforts have failed to change one general reality: the theater is still withered and sluggish!